Bridges of Pearl and Dust is virtuosic music for four vibraphones. Polyrhythmic and contrapuntal throughout, it rings out with both inevitably and surprise as it moves through its series of lush, beautiful harmonic fields. It’s a composition wherein continuous activity comfortably shares space with a sense of motionlessness. Via overdubs, all of Bridges‘s four parts are performed for this recording by Los Angeles-based percussionist, composer, and new-music advocate Ben Phelps.
Byron writes, “Bridges of Pearl and Dust is a music about one thing: It points toward a musical experience in the present tense; the burden of anticipation is lifted, and drama, along with its potential for surprise, is abandoned.”
Michael Byron’s music, which tends to be harmonically rich, rhythmically detailed, and virtuosic, is often praised for its ability to create uniquely dense constructions out of relatively limited means: “Byron creates maximalist effect out of minimalist means.” (ClassicalNet) “One is reminded…of the mobiles of Alexander Calder, which are both fixed and moving. And, like Calder’s work, Byron’s music is immediately comprehensible and beautiful, while it remains experimental.” (San Francisco Bay Guardian) “Byron’s music, like Ligeti’s, is instantly recognizable, perceptually challenging, beautifully proportioned and deeply satisfying.” (Paris Transatlantic) “Byron’s music dances with tremulous iridescence.” (Julian Cowley, The Wire)
